SlideShare uma empresa Scribd logo
1 de 66
Baixar para ler offline
Changing Scenario
of Ethnic Oral Epics Singers
and social functions of oral epics
(In the Context of Kalahandi)
Dr Mahendra K Mishra
Director
Tribal Research Center,
Orissa,India
mkmfolk@gmail.com
9437636436
Oral Tradition in India
It was a story of 1500 years ago.
A story tellers came to a kings’ court to tell his story.
King asked him - what is the language of the story ?
The story teller said- it is paishachi - my mother tongue.
The court poets and the council laughed at him.
The king said , ‘ Sanskrit is the language of the court,We
don’t recognize any other language here. You can go.’
Collecting his palm leaf manuscript the story tellers left the
court, and came back to the forest.
 He started telling the story to the
birds and animals in the forest. He
prepared fire and around him
there were birds and animals of the
forest to listen to him attentively.
 He was reading out the story from
each palm leaf and was throwing
the page, one after another, in to the
fire.
 The birds and animals were
listening to him forgetting their food
and drink.
 In the dining table the king found that the
quality of the food served was deteriorating
 On enquiry, the king found that, all the birds and
animals of the forest were engaged in listening
the story and have forgotten to take food. So
the hunter don’t get good prey and the supply
of food is affected by it.
 On further enquiry , the king could know that
the story teller was no one but Gunadhya – the
great story teller and a poet of the time.
 The king could realized his mistake and ran in to the
forest . He found the birds and animals around the fire
listening the story from the person whom he met in
the court.The man was throwing the pages of his
manuscripts one after another.
 The king shouted, Stop it, Gunadhya, I have realized my
mistake. Please don’t burn the knowledge.
 But Gunadhya, with a smile, replied the king , I have
my own subjects in this forest who have respected
this knowledge leaving their food and drink. What
use of the royal patronage when the whole universe is
ready to listen to me. I don’t mind if all the
knowledhes are burnt in the fire.
 The king snatched the manuscripts from Gunadhya
and got it publisised which is now known as
Brhadkatha( the great story ) in India.
The question after this story is
◦ Do the local knowledge still patronized by the
people in power? May it be Monarchy or
democracy ?
◦ Do all the indigenous knowledge have the same
status with the language of power?
◦ Do the people in high culture really respect the
knowledge of the people in peripheries?
◦ Are the knowledge that is created from the
experiences of the people are properly
understood by the people in power and
considered as the national property ?
Views
from
the
History
There is a division between the Aryans and the tribal in Indian
canons. Equally the disparity between the language of power and
the language of people.
The canons and history of India spells out that the Aryans were
God and their language was Sanskrit.The era was the era of
the Gods and the Kings.
The Non Aryans were narrated as Asura, Nishada,Rakshasa,
Anarya – all for the tribals of the country.
The myths and epics of written Sanskrit has narrated the Tribals as
demons and the story of their defeat and displacement.
The Aryans wrote their history of victory and down graded the
rich values of the tribals
Ethnic Scenario in India
There are 623 scheduledTribes in India
Out of them 74 are endangered in respect of
their land, language and values
Their culture is eroded in the name of mainstreaming
Their knowledge system is also under destruction
This lead to cultural and linguistic genocide.
Tribal History
 Till now – Indian history has not given
due justice to the tribal history.
 Their knowledge system is hardly
understood and studied in the
mainstream culture.
 Their land, language , knowledge and
culture is gradually eroded.
 They don’t have the history of their own
, except in their contemporary cultural
practices
Land of the Man
 The Lost Tribal Identity
 Indian land was known
with the names of the
ancient tribal communities
.They were
Gondwana land,
Bhilwada,
Kondhan Desh
Santal Pragana
Bhuiyan Peedha
Saora Mandal and many more..
 Each ethnic group had a self sufficient territory
and land, own language and self rule and has
clan based territories. Land and language was
the marker of their identity.
 But their land was distributed to many modern
states across the time and their history was
distorted.They were subjugated , displaced and
pushed out in to the forest land.
 Not only this they were acculturated with the
values that was imposed by the outsider
Epic singers of kalahandi , india
Epic singers of kalahandi , india
Epic singers of kalahandi , india
Kalahandi as a Tribal Land
 in 1876 total population was 1, 22,ooo and the
percentage of tribal was 75 .( 88000 people were
Kondh)
 In 2001 total population is 13,00,000 and tribal
population is 30 %.
 How the percentage of 75 reduced to 30 % ?
 What was the historical reasons that the
indigenous people reduced
 The name of the land was Kandhan Desh ( Kondh
land) is changed to kamala amandala and then
kalahandi.
 I am presenting the tribal epics of Kalahandi
The major tribes are the Gonds and the Kondhs.
Who are the Epic Singers?
A. Caste nominated bards are the
Epic Singers
 Parghania for the Gonds
 Bogua and Marals for the Kondhs
 Ghogia/Jachak/Birthia for the Gauds
 Bhat for the Banjara
Tribal Oral tradition
 In addition to songs and tales, myths and
legends , proverbs and riddles, tribal
people have their caste genealogies and
sacred myths and epics
 They have priests , singers and
storytellers.
 Some knowledge are known to every
body and some knowledge are esoteric
Epic Singers of Kalahandi
The epic singers of Kalahandi may broadly be
categorized under the following heads.
 Ethnic singer or professional caste-bard.
 Castes and tribes having no bardic tradition
but singing the epic song.
 Priest group in tribal community-male and
female priest.
 Singers independent to castes and tribes.
1. ETHNIC SINGERS OR PROFESSIONAL CASTE
BARD: (Table –1)
Tribe Ethnic Bard Musical
Instruments
Myth / Epics
GOND ,
BHATRA
PARGHANIA,
PRADHAN
KIKRI, PEPRE(
fiddle)
Budharaja myth
ChitalSingh
epic
Hirakhan
Chhatri
Luhagundi
King and 8
epics
KONDH BOGUA,
MARAL DHUNDHUNI
A( One
stringed
instrument)
Gova- creation
myth
Epic of Bhima,
Epic of
Namgmati –
Raajaphulia
Manduka Majhi
1. ETHNIC SINGERS OR PROFESSIONAL CASTE BARD: (Table
–1)
Tribe Ethnic Bard Musical
Instruments
Myth / Epics
BINJHAL BIRTHIA MANDAL JATI JANAM
BORASAMBHAR
KING , MYTH OF
LION -MAN
BANJARA BHAT DHAP MITHU BHUKHIA
SEWABHAYA MYTH
LAKHABANJARA EPIC
SOHBANAYAK EPIC
SIRARAM NAYAK EPIC
RAJA ISALU EPIC
RAMJI HUNA SATI –
EPIC
RAMA HERU EPIC
1. ETHNIC SINGERS OR PROFESSIONAL CASTE
BARD: (Table –1)
CASTE CASTE BARD Musical
Instruments
Myth / Epics
GAUR, GAUD GHIGIA ,
JACHAK ,
BANS, BRAHMA
VEENA
KHARATMAL 12
CYCLES OF
EPIC FOR 12
BROTHERS
DOM BHAT , BIRTHIA DAMBRU MARDABA KING
LANKA GADA
GEET
EPIC OF
BROTHER SISTER
INCEST
II. CASTES /TRIBESWITHOUT BARDICTRADITION, BUT
SING EPIC SONGS:
CAS
TE
TRIB
E
Epic songs/culture Hero and Narration on
Supreme Gods.
Bhunjia Origin of Bhunjia, Kachra Dhurua, a culture Hero of the Bhunjias.
Paharia(
Kamar)
Bad Devtar Khena (Origin myth). Gandhu Paradhiya (Culture Hero).
Sabar Dance, the song of tattooing, romance epic of Oriya literature, Sashisena,
Jarasabar Vidyapati Lalita, origin of Lord Jagannath.
Teli Bhat Caste origin from Lord Siva and Parvati, Caste occupation, ritural song
“marriage of Gods and Goddesses” (Siva & Parvati).
Keut(Fi
sher
folk)
Kaivarta Geeta – Origin of Kaivarta caste from Brahma and Vishnu,
(associated with sage Parasara, father of Vayasa)
III.PRIESTS/PRIESTESS ATTACHEDTO
CASTE ANDTRIBE:
Tribe Priest Shaman Myths &Sacred
Epics
Function
Gond Jhankar
Ghogien
Dihari Budharaja
myth
Cultivation of
paddy by Lord
Shiva
singing of
ancestor
genealogies
Supreme God
/Ancestor
worship
Appeasing the
ancestors
Kondh Jani ( 3)
Gova jani Khut
Jani Jog jani
Disari Earth Mother
goddess and Sun God
Buffalo sacrifice
Nature worship
rain God Bhima
worship
III.PRIESTS/PRIESTESS ATTACHEDTO CASTE
ANDTRIBE:
Tribe Priest Shaman Myths
&Sacred
Epics
Function
Kondh-
Paraja
Bhunjia
Female
priest -
Gurumai
Gurumai Bhima Sidi,
Charela geet
Sunadi geet
Ample
harvest ,
divination,
safety of
villagers
IV.PROFESSIONAL SINGERS
Category Singers Epics musical
instruments
function
professional Debgunia
Birth of
Goddess
of wealth
- Laxmi
Brahma
veena – harp
Ample harvest
and wealth ,
paddy
cultivation
Basidevia
Brahmin
Singing of
the
Ramayana
kikri ( fidel) Entertainment
and preaching
of the
Ramayana
IV.Professional Singers
Category Singers Epics musical
instruments
function
Occasional Geetkudia
( male
singer)
heroic
epics ,
social
events
Ram kathi , entertain
ment ,
dance and
singing
during
mirrage
ceremony
Geetkudien
(femalesinger)
Oral Epics
 Oral epic is tradition bound
 Patronized by community to perpetuate the caste
genealogies and caste glories
 It is associated with the culture of a community
 It is mythical/legendary and imaginary
 Each ethnic group has his own caste genealogies and
epics
 They have ethnic singers/priests
Nature of Oral Epics:
 It is a sung narrative(mixed with prose and poetry)
 Clan bard/ ethnic singer perform the song
 Accompanied with musical instruments
 Story about caste originator/ origin of gods and
goddesses/culture heroes/royal dynasties
 Story of migration and settlement of ethnic group
 Bear the cultural heritage of the ethnic group
 It is supernatural: blend of reality and imagination
Mythical Epics
 Creation of the Universe, earth, and origin of the gods
and goddesses, caste origin, validation of gods and their
worship by the clans
 Story of origin, marriage and family of different gods and
goddesses in a territory
 Oral performance of myths during ritual performance
 Community believe it to be true and follow the socio-
religious rules that gives them a world view of their
cultural reality
Culture Heroes:
 Based on the religious world view and social
values, the ethnic singer create culture heroes
in their mind
 It is tradition bound retained in the mental text
of the singers
 There is a pattern of identifying a hero in a
particular community
 This is based on invention,talent, strength.After
attending many tests,the hero wins and become
the role model for the community
 Conflict in family for land and property are
two major factors of creating a culture hero.
Characteristic of Culture Heroes
 Supernatural, miraculous, magical
 Divine support
 Enormous strength to over come obstacles
 Witty and intelligent
 Wins in love and war
 Innovative in ethnic occupations
 Have the ability to tackle any difficult situation( may
be divine or human)
Why Oral Epics
 To remember caste glory
 To know the caste genealogies orally (through
arrangement /chronologies of characters and
events)
 To respect the clan gods and goddesses/
worship the ancestors and energize the
contemporary generations
 Associating the clan history with the present
clan lineage
 Recite the epics during marriage ceremony to
glorify the heroic actions of the
ancestors/culture heroes
 Learning from the ancestors story
Narrative Territory of Clan Bard
Parghania ( Epics to Ontology )
 It is said that 84 villages constitutes a Parghana
with a king.
 They use to live on their clan masters donation
 A parghania consider the territory of his clan
masters as his own narrative territory.
 Out of eight ‘Saga’ (Clan) Gonds , eight clan bards
 each clan bard serves his own clan master’s
territory as his own occupation areas.
 No other clan bard enters other than his or her
clan master’s house.
Caste Genealogies
 Caste genealogies are recorded and maintained
by the ethnic singers
 Parghania maintain Gond genealogy: Purja
 Similarly other tribes have their own oral
history
 This is related to their gods and first
progenitor,
 This is based on their migration and settlement,
some time struggle with other caste and win
over them
 Distribution of Gods among the clans
Functions of Ethnic Singers
 Singing the clan based creation myth, clan
genealogies , origin of the castes,origin of
gods and goddesses,migration, settlement,
story of the clan heroes
 Attending rites de passage of the clan
masters
 Annual tour to the houses of the clan
masters( confined to one clan only)
 Perform epic story of the clan and
other songs , stories, music, etc.
Social function
 The bards attend their clan master’s social
function such as birth , marriage ,death
rituals, and beg/ demand alms.
 The male bards use to sing the caste
genealogies during the death ceremony
of a person
 He also sing the heroic epic during the
marriage ceremony of the Gond family
 The caste genealogies are re cited
during death rituals, as well as clan rituals(
Pitori Puja – ancestor worship)
Bard’s identity
 The clan bard Parghanias identify
themselves as the younger brother of the
Gonds and claim their common ancestry.
 But the Gonds disagree with it.They say that
they are superior and in no way their clan
bards are equal to them.
 Instead, since the Gond bards accept alms,
(Sukdan, bachhadan etc.) from their Gond
clan master, the Gonds say that the
parghanias are inferior caste group, of course
emerged from their caste.
PURJA: GOND CASTE
GENEOLOGY
The caste genealogies, caste myth, oral epics
and hymns are sung by the bards in a
language called “Gondi”.
The language is not spoken except in the
religious ceremonies. It clearly indicates that
the caste myths, genealogies are esoteric
texts, which is not shared by other caste
group, even a caste myth is not sung by a
singer in another clan group, as though both
the clan belong to Gond caste.
 “ PURJA” – is the caste genealogy of the
Gonds. It is the origin myth created by
the supreme God of the Gonds and the
first progenitor was Linga Deo who
listens to it. Linga Deo wanted to be
popularized and thereafter his first
servant become the parghania who knew
all these myths and genealogies.
 It is mandatory for each Gond family / Clan to listen
Purja from their Parghania at least once in a year.
 During the marriage, death rituals and invoking the
ancestor spirit “Duma” Purja plays an important role
to remember the past glory of the Gonds.
 Most of the Purja’s are oral history and caste
genealogies.
 In later part of 19th century and 1st five decades of
20th century some palm leaf scriber belonging to
pastoral community (Goud) and Bairagi community
used to write the Gond Purja in palm leaf manuscript.
After this the purja was written in pen and paper.
Bards as younger brother of the Clan
Chief
 The Parghanias consider themselves as
the younger brother of the Gonds. So
there is a proverb that ,”the Gonds are
elder brother, so they hold the ‘Chhatra’ –
an umbrella over the throne – as the
symbol of administrative power, and the
younger brother hold the “Vana” – flag
and the musical instrument ‘ Kikri’ as the
symbol of singing the eulogy of the elder
brother.
Wel coming the Bards by the clan
chief
Baradharguma
Suradhar sandu
Gatidar bajarsri
Ajira Chanchala
Inju kaike”
The esoteric meaning of the above recitation is
known to parghania only.
The clan master / patron replies:
 “ Oh, my God has appeared. Let’s worship him
with perfume , molasses and ghee”.

Parghania says:
“O Majhi, I have come to you.You have got this God from your
ancestors.You have to obey your God.You pay the alms for
your betterment”.
Then the chief offers him a jug of water and tobacco and
invites him. This is the symbol of honour. If they delay in
inviting, the
bard may feel offended.They also worship the musical
instruments as the symbol of their clan God.
The bards use to sing the song depending on the rituals and
occasion. If it is a death rituals they sing caste genealogies
and the glory of ancestor story.
If it is a marriage ceremony , they sing the glory of their
culture heroes., legendary hero if their community.
The patron gives gold, cow, bullocks, rice, paddy, salt,
turmeric, chilly etc and says,“Babu, this much is with me
please be happy with this. I will satisfy you next year”.
 The Parghania bless the patron,“Chaturbhuj Budhadev
will keep you happy.You will lead and win every where”.
Then again the Parghania recite his Gondi hymn –
Baradhar guma:………
 After 15 days or so the Bard return to his home.
Parghania as epic singer and
story teller
 In the night, at around 8.00 P.M. to 9.00 P.M. all the people of
the Gond community assemble in one place.The tribal
chief worship the musical instrument.
 Thereafter the Parghania recites the worship and eulogy of
the Gond supreme Gods Chaturbhuja Budhadeo, Linga Deo
and Jangha Deo.
 After that, the Parghania, assisted by two to three young
singers start singing the Purja – the Gond caste genealogies.
 The audience believes the narration to be true.They also
remember the caste lineage.The older persons in the Gond
community also recapitulate the accurate caste lineage and
share with the Parghania.
 The audience enjoys the narration of the
Parghania.They feel glorified with the
heroic deeds of the Gond Gods and
heroes.The categories of narratives
recited by the Parghanias are as
followings:
 Sacred narratives:
 Creation myth of the Universe.
 Creation myth of the Gods / Goddesses
 Creation of the earth, birds, animals.
 Shiva – Mahadev as the first cultivator
 Purja caste genealogies.
Purja
 One such ‘Purja’ is collected from Sri
Parsuram Majhi, Malpada of Sinapali Block
in Kalahandi district reflects the nature of
its structure, narration and the function.
This Purja reveals how the Gonds came
from Bastar and Chhatishgarh to
Kalahandi.The content area found in the
Purja is:

 Distribution of Gond Gods and
Goddesses in the Gond administrative
territories. Family relation of the Gond
Gods and Goddesses, distribution of land
and place (Gadi), worship of Gonds to the
Gods and Goddesses according to their
clan. Categories of foods, dresses, and
offerings given to the Gond Gods and
Goddesses according to their individual
tastes.
 Ethnic status of the Gonds:The superior
Gonds and inferior Gonds in terms of their
origin and their occupation are described in
the Purja. Out of 8 ‘Saga’ Gonds the Markam
and the Netam Gonds are superior and the
rest of the Gonds are comparatively inferior.
The kinship relation is also determined in
the Purja, and description is found, whether
the marriage between two different Gond
clans is possible or not.
 The history of clan migration from one
place to the other and forming of new
settlement is found in the Purja.The
struggle of the Gonds with other tribes
during their migration and settlement is
described in the Purja.They also describe
the first progenitor and the first Gond
hero who defeated other tribes and saved
their Gond clan.
 In order to keep the caste genealogy
chronologically the time factor is retained
through the series of important events.
For instance, the events of the Gond
heroes are remembered by the
Parghanias and it is through the
association of events that the chronology
of the Gond oral history is maintained.
 Social rules are described in the Purja.
Most of the Gonds are belong to breast
milk brothers (Dud bhai) and institution
of marriage is not allowed between these
two Dudbhai clans. So in order to be
aware of their caste status and the
approved marriage relation between the
Gonds, the Purja is referred.
 Unless and until the caste genealogies are
agreed and declared as correct, the
narrations of the Parghanias are
sometimes rejected.The “sianlog” –
senior persons of Gond community
suggests the Parghania to correct the
narrative events. So that the right oral
history and chronology will be
maintained.
Realities
Changing
Scenario of the
Ethnic Singers
Current Sceneario
 Modernity, westernization, industrialization, modern
education and globalization has left little place
to genres like oral epics/myths
 Ethnic singers are in cross road in their identity,
neither they are aware of the traditional knowledge,
or ready to abandon the identity of a singer.
 Scholars quest for oral tradition has made them
aware of the importance of their knowledge,but
unless the caste patron approves, they are not
ready to share.
 They consider the caste genealogies as esoteric
knowledge,only should be within their private
domain
Professional singers and their current
situation
 Singers are unable, in a changing environment, to
adapt the singing profession they once learned,
but still stored in their memories
 Many genres of folklore have vanished forever
with the passing of the last tradition-bearers
familiar with them.
 Now no singer of 60s are available to us to
listen to their songs of glory
 Musical instruments are not available or of no
use
Lack of Patronization
 Now a days ethnic singers are lacking
patronization
 Clan masters don't patronize them
 Traditional singing is replaced with Hindi
films during marriage/ birth rituals etc.
 Mode of entertainment became more
visual than aural, elders did not patronize
their community knowledge
 Modern education gave them new identity
than earlier one
Lack of Patronization
 Now a days ethnic singers are lacking
patronization
 Clan masters don't patronize them
 Traditional singing is replaced with Hindi
films during marriage/ birth rituals etc.
 Mode of entertainment became more
visual than aural, elders did not patronize
their community knowledge
 Modern education gave them new
identity than earlier one
Singers as passive tradition-bearers ,Why?
 No clan support
 Unable to adjust with new social life
 Adoption of labour and agriculture, rural employment
 No training and education on traditional singing ,
music
 Hesitate to write / perform the knowledge in new
socio-cultural situation which could be the source of
regenerating the cultural resources
 No knowledge about the importance of their
performance as the borrower of human culture.
Observation:
The socio-cultural aspects of the epics are
1.The epics represents the pre agricultural society
of Kalahandi
2.It represent the initiation of agricultural society
( invention of iron, plough, cutting forest and
leveling land( sunabeda, rupabeda)
3.Invention and discoveries: iron, liquor,
4.Etiological myths: why the paddy looked black
and yellow, why the tiger is afraid of the wild
dogs? why there is worms in the fig fruit etc.
How to Revitalize?
 Community support:Approval of jati maha sabha
to document the social and oral history of
tribes and castes
 Bring the content in audio, video and print
form
 Patronize the singers through recognition,
reward and pension( Karnataka example)
 Using oral tradition as the means of political
gain, ethnic identity, group solidarity,and maintain
ethnic culture.
Dual Responsibilities:
 Sensitizing the community on safeguarding the
oral epics/ myths/caste genealogies so that they
will patronizing the singers
 Recognizing the singers in public domain
 Studying the oral epic genre as a means of
understanding the ethnic culture as well as use
them for socio-cultural and socio-political
regeneration
 A place where academic domain contribute to
the community from where the oral tradition
has been derived
 and giving back to the community
Application
 Traditional performance in the community
 performance in changing situation:
 Use in research ( anthropology, history,
linguistics, literature , music etc.)
 Use for ethnic identity and achieve
power (land, culture and language)
 Use in education ( cultural curriculum)
Conclusion
 From 1500 years ago till now – the knowledge
of the singers and the languages of the
communities are still subjugated and not
properly understood as the resources of human
property.
 The Kings and sages have gone, peoples rule
has come , but still the knowledge and language of
the tribal / ethnic communities are in constant
threats, the threats of hegemony and the
threats of cultural genocide.
 It is essential to maintain cultural bio diversity and
therefore knowledge from the epics is important
to understand the alchemy of nature.
Thank you

Mais conteúdo relacionado

Mais procurados

Pre Colonial Literature Philippines
Pre Colonial  Literature PhilippinesPre Colonial  Literature Philippines
Pre Colonial Literature PhilippinesEdmundo Dantes
 
Literature During the Spanish Period
Literature During the Spanish PeriodLiterature During the Spanish Period
Literature During the Spanish PeriodMark Vincent Millona
 
compilation of pre hispanic and hispanic texts
compilation of pre hispanic and  hispanic textscompilation of pre hispanic and  hispanic texts
compilation of pre hispanic and hispanic textsMelrose yatong
 
Literature during the Spanish period (1565-1898)
Literature during the Spanish period (1565-1898)Literature during the Spanish period (1565-1898)
Literature during the Spanish period (1565-1898)Mhia Lu
 
Philippine Pre-colonial & Spanish Colonial Literature
Philippine Pre-colonial & Spanish Colonial LiteraturePhilippine Pre-colonial & Spanish Colonial Literature
Philippine Pre-colonial & Spanish Colonial LiteratureMiss Ivy
 
Spanish Colonial text and PreColonial text
Spanish Colonial text and PreColonial textSpanish Colonial text and PreColonial text
Spanish Colonial text and PreColonial textJarzky
 
Philippine pre – colonial folk songs
Philippine pre – colonial folk songsPhilippine pre – colonial folk songs
Philippine pre – colonial folk songsJem Diana
 
Pre-colonial Text and Spanish Colonial Text
Pre-colonial Text and Spanish Colonial TextPre-colonial Text and Spanish Colonial Text
Pre-colonial Text and Spanish Colonial Textryukigil
 
Pre-Hispanic and Hispanic Colonial Text
Pre-Hispanic and Hispanic Colonial TextPre-Hispanic and Hispanic Colonial Text
Pre-Hispanic and Hispanic Colonial TextMoomin Gel
 
Pre-Colonial and Spanish Colonial text
Pre-Colonial and Spanish Colonial textPre-Colonial and Spanish Colonial text
Pre-Colonial and Spanish Colonial textmiadaryanmae
 
Phil. literature
Phil. literaturePhil. literature
Phil. literatureYsa Garcera
 
Philippine Literature - Folk Narratives Grade 7
Philippine Literature - Folk Narratives Grade 7Philippine Literature - Folk Narratives Grade 7
Philippine Literature - Folk Narratives Grade 7Rojem Mae del Carmen
 
Handouts for Periods in the Philippine Literary History
Handouts for Periods in the Philippine Literary HistoryHandouts for Periods in the Philippine Literary History
Handouts for Periods in the Philippine Literary HistoryElijah Marvin Guangco
 
Pre-colonial and Spanish colonial Philippine Literature
Pre-colonial and Spanish colonial Philippine LiteraturePre-colonial and Spanish colonial Philippine Literature
Pre-colonial and Spanish colonial Philippine LiteratureBrian_Enero
 
Philippine Literature during the Pre- Colonial Period
Philippine Literature during the Pre- Colonial PeriodPhilippine Literature during the Pre- Colonial Period
Philippine Literature during the Pre- Colonial PeriodIvan Jayson Macabenta
 
Philippine literature- Introduction
Philippine literature- IntroductionPhilippine literature- Introduction
Philippine literature- IntroductionAlie Baba
 

Mais procurados (20)

Pre Colonial Literature Philippines
Pre Colonial  Literature PhilippinesPre Colonial  Literature Philippines
Pre Colonial Literature Philippines
 
Literature During the Spanish Period
Literature During the Spanish PeriodLiterature During the Spanish Period
Literature During the Spanish Period
 
compilation of pre hispanic and hispanic texts
compilation of pre hispanic and  hispanic textscompilation of pre hispanic and  hispanic texts
compilation of pre hispanic and hispanic texts
 
Literature during the Spanish period (1565-1898)
Literature during the Spanish period (1565-1898)Literature during the Spanish period (1565-1898)
Literature during the Spanish period (1565-1898)
 
Pre spanish
Pre spanishPre spanish
Pre spanish
 
Philippine Pre-colonial & Spanish Colonial Literature
Philippine Pre-colonial & Spanish Colonial LiteraturePhilippine Pre-colonial & Spanish Colonial Literature
Philippine Pre-colonial & Spanish Colonial Literature
 
Grade 7 philippine pre colonial literature
Grade 7 philippine pre colonial literatureGrade 7 philippine pre colonial literature
Grade 7 philippine pre colonial literature
 
Spanish Colonial text and PreColonial text
Spanish Colonial text and PreColonial textSpanish Colonial text and PreColonial text
Spanish Colonial text and PreColonial text
 
Philippine pre – colonial folk songs
Philippine pre – colonial folk songsPhilippine pre – colonial folk songs
Philippine pre – colonial folk songs
 
Pre colonial folk speeches
Pre colonial folk speechesPre colonial folk speeches
Pre colonial folk speeches
 
Pre-colonial Text and Spanish Colonial Text
Pre-colonial Text and Spanish Colonial TextPre-colonial Text and Spanish Colonial Text
Pre-colonial Text and Spanish Colonial Text
 
Pre-Hispanic and Hispanic Colonial Text
Pre-Hispanic and Hispanic Colonial TextPre-Hispanic and Hispanic Colonial Text
Pre-Hispanic and Hispanic Colonial Text
 
Philippine Literature
Philippine LiteraturePhilippine Literature
Philippine Literature
 
Pre-Colonial and Spanish Colonial text
Pre-Colonial and Spanish Colonial textPre-Colonial and Spanish Colonial text
Pre-Colonial and Spanish Colonial text
 
Phil. literature
Phil. literaturePhil. literature
Phil. literature
 
Philippine Literature - Folk Narratives Grade 7
Philippine Literature - Folk Narratives Grade 7Philippine Literature - Folk Narratives Grade 7
Philippine Literature - Folk Narratives Grade 7
 
Handouts for Periods in the Philippine Literary History
Handouts for Periods in the Philippine Literary HistoryHandouts for Periods in the Philippine Literary History
Handouts for Periods in the Philippine Literary History
 
Pre-colonial and Spanish colonial Philippine Literature
Pre-colonial and Spanish colonial Philippine LiteraturePre-colonial and Spanish colonial Philippine Literature
Pre-colonial and Spanish colonial Philippine Literature
 
Philippine Literature during the Pre- Colonial Period
Philippine Literature during the Pre- Colonial PeriodPhilippine Literature during the Pre- Colonial Period
Philippine Literature during the Pre- Colonial Period
 
Philippine literature- Introduction
Philippine literature- IntroductionPhilippine literature- Introduction
Philippine literature- Introduction
 

Destaque

Filipino Epiko - Ibalon and Biag ni Lam-Ang
Filipino Epiko - Ibalon and Biag ni Lam-AngFilipino Epiko - Ibalon and Biag ni Lam-Ang
Filipino Epiko - Ibalon and Biag ni Lam-Angbowsandarrows
 
TRIBLE POPULATION AND THEIR HEALTH ISSUES
TRIBLE POPULATION AND THEIR HEALTH ISSUESTRIBLE POPULATION AND THEIR HEALTH ISSUES
TRIBLE POPULATION AND THEIR HEALTH ISSUESbharti sharma
 
Indarapatra and Sulayman
Indarapatra and SulaymanIndarapatra and Sulayman
Indarapatra and SulaymanBren Dale
 
Indapatra at Sulayman (Please Read Description)
Indapatra at Sulayman (Please Read Description)Indapatra at Sulayman (Please Read Description)
Indapatra at Sulayman (Please Read Description)Bruce Wayne
 
The Epic (with Indarapatra & Sulayman)
The Epic (with Indarapatra & Sulayman)The Epic (with Indarapatra & Sulayman)
The Epic (with Indarapatra & Sulayman)Jeffren Miguel
 
Caste system
Caste systemCaste system
Caste systemrahul1250
 

Destaque (9)

Filipino Epiko - Ibalon and Biag ni Lam-Ang
Filipino Epiko - Ibalon and Biag ni Lam-AngFilipino Epiko - Ibalon and Biag ni Lam-Ang
Filipino Epiko - Ibalon and Biag ni Lam-Ang
 
TRIBLE POPULATION AND THEIR HEALTH ISSUES
TRIBLE POPULATION AND THEIR HEALTH ISSUESTRIBLE POPULATION AND THEIR HEALTH ISSUES
TRIBLE POPULATION AND THEIR HEALTH ISSUES
 
Indarapatra and Sulayman
Indarapatra and SulaymanIndarapatra and Sulayman
Indarapatra and Sulayman
 
Grade 7 readings
Grade 7 readingsGrade 7 readings
Grade 7 readings
 
Indapatra at Sulayman (Please Read Description)
Indapatra at Sulayman (Please Read Description)Indapatra at Sulayman (Please Read Description)
Indapatra at Sulayman (Please Read Description)
 
Ibalon
IbalonIbalon
Ibalon
 
The Epic (with Indarapatra & Sulayman)
The Epic (with Indarapatra & Sulayman)The Epic (with Indarapatra & Sulayman)
The Epic (with Indarapatra & Sulayman)
 
Epic story of Ibalon
Epic story of IbalonEpic story of Ibalon
Epic story of Ibalon
 
Caste system
Caste systemCaste system
Caste system
 

Semelhante a Epic singers of kalahandi , india

Different Literary Genres of India
Different Literary Genres of IndiaDifferent Literary Genres of India
Different Literary Genres of IndiaDawna Rose Cabrera
 
Organic Growth of Folk Epics: Ownership and Contestation of Tamil Folk Epic A...
Organic Growth of Folk Epics: Ownership and Contestation of Tamil Folk Epic A...Organic Growth of Folk Epics: Ownership and Contestation of Tamil Folk Epic A...
Organic Growth of Folk Epics: Ownership and Contestation of Tamil Folk Epic A...inventionjournals
 
8th Std. SocialScience Textbook, State Syllubus
8th Std. SocialScience Textbook, State Syllubus8th Std. SocialScience Textbook, State Syllubus
8th Std. SocialScience Textbook, State SyllubusSUJEESH PUTHUKKAN
 
punjabi culture.pptx
punjabi culture.pptxpunjabi culture.pptx
punjabi culture.pptxMaharijNoor
 
3.1 the indo europeans
3.1 the indo europeans3.1 the indo europeans
3.1 the indo europeansSSYLVIAA
 
Ch 3.1 People And Ideas On The Move
Ch 3.1  People And Ideas On The MoveCh 3.1  People And Ideas On The Move
Ch 3.1 People And Ideas On The MoveJohn Hext
 
Bastar culture
Bastar cultureBastar culture
Bastar cultureyuvicobra
 
Folk culture of Uttar Dinajpur
Folk culture of Uttar DinajpurFolk culture of Uttar Dinajpur
Folk culture of Uttar DinajpurDipak Mondal
 
TRIBES OF INDIA research , data and analysis .docx
TRIBES OF INDIA research , data and analysis .docxTRIBES OF INDIA research , data and analysis .docx
TRIBES OF INDIA research , data and analysis .docxNISHIKA PAWAR
 
Ch 3.1 People And Ideas On The Move
Ch 3.1  People And Ideas On The MoveCh 3.1  People And Ideas On The Move
Ch 3.1 People And Ideas On The MoveCoach Thomas
 
Historical Evolution of Indian Culture
Historical Evolution of Indian CultureHistorical Evolution of Indian Culture
Historical Evolution of Indian CultureFredin Scaria
 
Indian languages and literature
Indian languages and literatureIndian languages and literature
Indian languages and literatureindianeducation
 

Semelhante a Epic singers of kalahandi , india (20)

Oral Epics in India
Oral Epics in IndiaOral Epics in India
Oral Epics in India
 
Different Literary Genres of India
Different Literary Genres of IndiaDifferent Literary Genres of India
Different Literary Genres of India
 
Music Of India Essay
Music Of India EssayMusic Of India Essay
Music Of India Essay
 
Sindhi culture
Sindhi cultureSindhi culture
Sindhi culture
 
MUSIC OF INDIA.pptx
MUSIC OF INDIA.pptxMUSIC OF INDIA.pptx
MUSIC OF INDIA.pptx
 
Tribes
TribesTribes
Tribes
 
Organic Growth of Folk Epics: Ownership and Contestation of Tamil Folk Epic A...
Organic Growth of Folk Epics: Ownership and Contestation of Tamil Folk Epic A...Organic Growth of Folk Epics: Ownership and Contestation of Tamil Folk Epic A...
Organic Growth of Folk Epics: Ownership and Contestation of Tamil Folk Epic A...
 
8th Std. SocialScience Textbook, State Syllubus
8th Std. SocialScience Textbook, State Syllubus8th Std. SocialScience Textbook, State Syllubus
8th Std. SocialScience Textbook, State Syllubus
 
Storytelling
StorytellingStorytelling
Storytelling
 
punjabi culture.pptx
punjabi culture.pptxpunjabi culture.pptx
punjabi culture.pptx
 
3.1 the indo europeans
3.1 the indo europeans3.1 the indo europeans
3.1 the indo europeans
 
Falk media
Falk mediaFalk media
Falk media
 
Ch 3.1 People And Ideas On The Move
Ch 3.1  People And Ideas On The MoveCh 3.1  People And Ideas On The Move
Ch 3.1 People And Ideas On The Move
 
Bastar culture
Bastar cultureBastar culture
Bastar culture
 
Folk culture of Uttar Dinajpur
Folk culture of Uttar DinajpurFolk culture of Uttar Dinajpur
Folk culture of Uttar Dinajpur
 
TRIBES OF INDIA research , data and analysis .docx
TRIBES OF INDIA research , data and analysis .docxTRIBES OF INDIA research , data and analysis .docx
TRIBES OF INDIA research , data and analysis .docx
 
Ch 3.1 People And Ideas On The Move
Ch 3.1  People And Ideas On The MoveCh 3.1  People And Ideas On The Move
Ch 3.1 People And Ideas On The Move
 
Historical Evolution of Indian Culture
Historical Evolution of Indian CultureHistorical Evolution of Indian Culture
Historical Evolution of Indian Culture
 
Speech On Indian Culture
Speech On Indian CultureSpeech On Indian Culture
Speech On Indian Culture
 
Indian languages and literature
Indian languages and literatureIndian languages and literature
Indian languages and literature
 

Mais de Dr Mahendra K Mishra

Strategy_paper_on_Tribal_Education_in_Orissa_2009
Strategy_paper_on_Tribal_Education_in_Orissa_2009Strategy_paper_on_Tribal_Education_in_Orissa_2009
Strategy_paper_on_Tribal_Education_in_Orissa_2009Dr Mahendra K Mishra
 
Visioning workshop on curriculum scf2013
Visioning workshop on  curriculum scf2013Visioning workshop on  curriculum scf2013
Visioning workshop on curriculum scf2013Dr Mahendra K Mishra
 
15046936 -teacher-training-in-tribal-areas-of-orissa-india-rupantar- (2) (1)
15046936 -teacher-training-in-tribal-areas-of-orissa-india-rupantar- (2) (1)15046936 -teacher-training-in-tribal-areas-of-orissa-india-rupantar- (2) (1)
15046936 -teacher-training-in-tribal-areas-of-orissa-india-rupantar- (2) (1)Dr Mahendra K Mishra
 
Classroom, curriculum, and marginalization mishra
Classroom, curriculum, and marginalization mishraClassroom, curriculum, and marginalization mishra
Classroom, curriculum, and marginalization mishraDr Mahendra K Mishra
 
Social cosntruct of curriculum in elementary education of chhatishgarh,india
Social  cosntruct of  curriculum in elementary  education of  chhatishgarh,indiaSocial  cosntruct of  curriculum in elementary  education of  chhatishgarh,india
Social cosntruct of curriculum in elementary education of chhatishgarh,indiaDr Mahendra K Mishra
 
History and Identity : Maraguda to Nuapada
 History and Identity : Maraguda to Nuapada   History and Identity : Maraguda to Nuapada
History and Identity : Maraguda to Nuapada Dr Mahendra K Mishra
 

Mais de Dr Mahendra K Mishra (8)

Strategy_paper_on_Tribal_Education_in_Orissa_2009
Strategy_paper_on_Tribal_Education_in_Orissa_2009Strategy_paper_on_Tribal_Education_in_Orissa_2009
Strategy_paper_on_Tribal_Education_in_Orissa_2009
 
St in orissa
St  in orissaSt  in orissa
St in orissa
 
Visioning workshop on curriculum scf2013
Visioning workshop on  curriculum scf2013Visioning workshop on  curriculum scf2013
Visioning workshop on curriculum scf2013
 
15046936 -teacher-training-in-tribal-areas-of-orissa-india-rupantar- (2) (1)
15046936 -teacher-training-in-tribal-areas-of-orissa-india-rupantar- (2) (1)15046936 -teacher-training-in-tribal-areas-of-orissa-india-rupantar- (2) (1)
15046936 -teacher-training-in-tribal-areas-of-orissa-india-rupantar- (2) (1)
 
Adolescent pedagogy
Adolescent  pedagogyAdolescent  pedagogy
Adolescent pedagogy
 
Classroom, curriculum, and marginalization mishra
Classroom, curriculum, and marginalization mishraClassroom, curriculum, and marginalization mishra
Classroom, curriculum, and marginalization mishra
 
Social cosntruct of curriculum in elementary education of chhatishgarh,india
Social  cosntruct of  curriculum in elementary  education of  chhatishgarh,indiaSocial  cosntruct of  curriculum in elementary  education of  chhatishgarh,india
Social cosntruct of curriculum in elementary education of chhatishgarh,india
 
History and Identity : Maraguda to Nuapada
 History and Identity : Maraguda to Nuapada   History and Identity : Maraguda to Nuapada
History and Identity : Maraguda to Nuapada
 

Último

One India vs United India by Dream Tamilnadu
One India vs United India by Dream TamilnaduOne India vs United India by Dream Tamilnadu
One India vs United India by Dream TamilnaduDreamTamilnadu
 
Green Aesthetic Ripped Paper Thesis Defense Presentation_20240311_111012_0000...
Green Aesthetic Ripped Paper Thesis Defense Presentation_20240311_111012_0000...Green Aesthetic Ripped Paper Thesis Defense Presentation_20240311_111012_0000...
Green Aesthetic Ripped Paper Thesis Defense Presentation_20240311_111012_0000...virgfern3011
 
Light Rail in Canberra: Too much, too little, too late: Is the price worth th...
Light Rail in Canberra: Too much, too little, too late: Is the price worth th...Light Rail in Canberra: Too much, too little, too late: Is the price worth th...
Light Rail in Canberra: Too much, too little, too late: Is the price worth th...University of Canberra
 
Another Day, Another Default Judgment Against Gabe Whitley
Another Day, Another Default Judgment Against Gabe WhitleyAnother Day, Another Default Judgment Against Gabe Whitley
Another Day, Another Default Judgment Against Gabe WhitleyAbdul-Hakim Shabazz
 
Anantkumar Hegde
Anantkumar Hegde  Anantkumar Hegde
Anantkumar Hegde NewsFeed1
 
Européennes 2024 : projection du Parlement européen à trois mois du scrutin
Européennes 2024 : projection du Parlement européen à trois mois du scrutinEuropéennes 2024 : projection du Parlement européen à trois mois du scrutin
Européennes 2024 : projection du Parlement européen à trois mois du scrutinIpsos France
 
Por estos dos motivos, defensa de JOH solicita repetir juicio
Por estos dos motivos, defensa de JOH solicita repetir juicioPor estos dos motivos, defensa de JOH solicita repetir juicio
Por estos dos motivos, defensa de JOH solicita repetir juicioAlexisTorres963861
 
19032024_First India Newspaper Jaipur.pdf
19032024_First India Newspaper Jaipur.pdf19032024_First India Newspaper Jaipur.pdf
19032024_First India Newspaper Jaipur.pdfFIRST INDIA
 
Ministry of Justice Extradition Eswatini 3.pdf
Ministry of Justice Extradition Eswatini 3.pdfMinistry of Justice Extradition Eswatini 3.pdf
Ministry of Justice Extradition Eswatini 3.pdfSABC News
 

Último (9)

One India vs United India by Dream Tamilnadu
One India vs United India by Dream TamilnaduOne India vs United India by Dream Tamilnadu
One India vs United India by Dream Tamilnadu
 
Green Aesthetic Ripped Paper Thesis Defense Presentation_20240311_111012_0000...
Green Aesthetic Ripped Paper Thesis Defense Presentation_20240311_111012_0000...Green Aesthetic Ripped Paper Thesis Defense Presentation_20240311_111012_0000...
Green Aesthetic Ripped Paper Thesis Defense Presentation_20240311_111012_0000...
 
Light Rail in Canberra: Too much, too little, too late: Is the price worth th...
Light Rail in Canberra: Too much, too little, too late: Is the price worth th...Light Rail in Canberra: Too much, too little, too late: Is the price worth th...
Light Rail in Canberra: Too much, too little, too late: Is the price worth th...
 
Another Day, Another Default Judgment Against Gabe Whitley
Another Day, Another Default Judgment Against Gabe WhitleyAnother Day, Another Default Judgment Against Gabe Whitley
Another Day, Another Default Judgment Against Gabe Whitley
 
Anantkumar Hegde
Anantkumar Hegde  Anantkumar Hegde
Anantkumar Hegde
 
Européennes 2024 : projection du Parlement européen à trois mois du scrutin
Européennes 2024 : projection du Parlement européen à trois mois du scrutinEuropéennes 2024 : projection du Parlement européen à trois mois du scrutin
Européennes 2024 : projection du Parlement européen à trois mois du scrutin
 
Por estos dos motivos, defensa de JOH solicita repetir juicio
Por estos dos motivos, defensa de JOH solicita repetir juicioPor estos dos motivos, defensa de JOH solicita repetir juicio
Por estos dos motivos, defensa de JOH solicita repetir juicio
 
19032024_First India Newspaper Jaipur.pdf
19032024_First India Newspaper Jaipur.pdf19032024_First India Newspaper Jaipur.pdf
19032024_First India Newspaper Jaipur.pdf
 
Ministry of Justice Extradition Eswatini 3.pdf
Ministry of Justice Extradition Eswatini 3.pdfMinistry of Justice Extradition Eswatini 3.pdf
Ministry of Justice Extradition Eswatini 3.pdf
 

Epic singers of kalahandi , india

  • 1. Changing Scenario of Ethnic Oral Epics Singers and social functions of oral epics (In the Context of Kalahandi) Dr Mahendra K Mishra Director Tribal Research Center, Orissa,India mkmfolk@gmail.com 9437636436
  • 2. Oral Tradition in India It was a story of 1500 years ago. A story tellers came to a kings’ court to tell his story. King asked him - what is the language of the story ? The story teller said- it is paishachi - my mother tongue. The court poets and the council laughed at him. The king said , ‘ Sanskrit is the language of the court,We don’t recognize any other language here. You can go.’ Collecting his palm leaf manuscript the story tellers left the court, and came back to the forest.
  • 3.  He started telling the story to the birds and animals in the forest. He prepared fire and around him there were birds and animals of the forest to listen to him attentively.  He was reading out the story from each palm leaf and was throwing the page, one after another, in to the fire.  The birds and animals were listening to him forgetting their food and drink.
  • 4.  In the dining table the king found that the quality of the food served was deteriorating  On enquiry, the king found that, all the birds and animals of the forest were engaged in listening the story and have forgotten to take food. So the hunter don’t get good prey and the supply of food is affected by it.  On further enquiry , the king could know that the story teller was no one but Gunadhya – the great story teller and a poet of the time.
  • 5.  The king could realized his mistake and ran in to the forest . He found the birds and animals around the fire listening the story from the person whom he met in the court.The man was throwing the pages of his manuscripts one after another.  The king shouted, Stop it, Gunadhya, I have realized my mistake. Please don’t burn the knowledge.  But Gunadhya, with a smile, replied the king , I have my own subjects in this forest who have respected this knowledge leaving their food and drink. What use of the royal patronage when the whole universe is ready to listen to me. I don’t mind if all the knowledhes are burnt in the fire.  The king snatched the manuscripts from Gunadhya and got it publisised which is now known as Brhadkatha( the great story ) in India.
  • 6. The question after this story is ◦ Do the local knowledge still patronized by the people in power? May it be Monarchy or democracy ? ◦ Do all the indigenous knowledge have the same status with the language of power? ◦ Do the people in high culture really respect the knowledge of the people in peripheries? ◦ Are the knowledge that is created from the experiences of the people are properly understood by the people in power and considered as the national property ?
  • 7. Views from the History There is a division between the Aryans and the tribal in Indian canons. Equally the disparity between the language of power and the language of people. The canons and history of India spells out that the Aryans were God and their language was Sanskrit.The era was the era of the Gods and the Kings. The Non Aryans were narrated as Asura, Nishada,Rakshasa, Anarya – all for the tribals of the country. The myths and epics of written Sanskrit has narrated the Tribals as demons and the story of their defeat and displacement. The Aryans wrote their history of victory and down graded the rich values of the tribals
  • 8. Ethnic Scenario in India There are 623 scheduledTribes in India Out of them 74 are endangered in respect of their land, language and values Their culture is eroded in the name of mainstreaming Their knowledge system is also under destruction This lead to cultural and linguistic genocide.
  • 9. Tribal History  Till now – Indian history has not given due justice to the tribal history.  Their knowledge system is hardly understood and studied in the mainstream culture.  Their land, language , knowledge and culture is gradually eroded.  They don’t have the history of their own , except in their contemporary cultural practices
  • 10. Land of the Man  The Lost Tribal Identity  Indian land was known with the names of the ancient tribal communities .They were Gondwana land, Bhilwada, Kondhan Desh Santal Pragana Bhuiyan Peedha Saora Mandal and many more..
  • 11.  Each ethnic group had a self sufficient territory and land, own language and self rule and has clan based territories. Land and language was the marker of their identity.  But their land was distributed to many modern states across the time and their history was distorted.They were subjugated , displaced and pushed out in to the forest land.  Not only this they were acculturated with the values that was imposed by the outsider
  • 15. Kalahandi as a Tribal Land  in 1876 total population was 1, 22,ooo and the percentage of tribal was 75 .( 88000 people were Kondh)  In 2001 total population is 13,00,000 and tribal population is 30 %.  How the percentage of 75 reduced to 30 % ?  What was the historical reasons that the indigenous people reduced  The name of the land was Kandhan Desh ( Kondh land) is changed to kamala amandala and then kalahandi.  I am presenting the tribal epics of Kalahandi The major tribes are the Gonds and the Kondhs.
  • 16. Who are the Epic Singers? A. Caste nominated bards are the Epic Singers  Parghania for the Gonds  Bogua and Marals for the Kondhs  Ghogia/Jachak/Birthia for the Gauds  Bhat for the Banjara
  • 17. Tribal Oral tradition  In addition to songs and tales, myths and legends , proverbs and riddles, tribal people have their caste genealogies and sacred myths and epics  They have priests , singers and storytellers.  Some knowledge are known to every body and some knowledge are esoteric
  • 18. Epic Singers of Kalahandi The epic singers of Kalahandi may broadly be categorized under the following heads.  Ethnic singer or professional caste-bard.  Castes and tribes having no bardic tradition but singing the epic song.  Priest group in tribal community-male and female priest.  Singers independent to castes and tribes.
  • 19. 1. ETHNIC SINGERS OR PROFESSIONAL CASTE BARD: (Table –1) Tribe Ethnic Bard Musical Instruments Myth / Epics GOND , BHATRA PARGHANIA, PRADHAN KIKRI, PEPRE( fiddle) Budharaja myth ChitalSingh epic Hirakhan Chhatri Luhagundi King and 8 epics KONDH BOGUA, MARAL DHUNDHUNI A( One stringed instrument) Gova- creation myth Epic of Bhima, Epic of Namgmati – Raajaphulia Manduka Majhi
  • 20. 1. ETHNIC SINGERS OR PROFESSIONAL CASTE BARD: (Table –1) Tribe Ethnic Bard Musical Instruments Myth / Epics BINJHAL BIRTHIA MANDAL JATI JANAM BORASAMBHAR KING , MYTH OF LION -MAN BANJARA BHAT DHAP MITHU BHUKHIA SEWABHAYA MYTH LAKHABANJARA EPIC SOHBANAYAK EPIC SIRARAM NAYAK EPIC RAJA ISALU EPIC RAMJI HUNA SATI – EPIC RAMA HERU EPIC
  • 21. 1. ETHNIC SINGERS OR PROFESSIONAL CASTE BARD: (Table –1) CASTE CASTE BARD Musical Instruments Myth / Epics GAUR, GAUD GHIGIA , JACHAK , BANS, BRAHMA VEENA KHARATMAL 12 CYCLES OF EPIC FOR 12 BROTHERS DOM BHAT , BIRTHIA DAMBRU MARDABA KING LANKA GADA GEET EPIC OF BROTHER SISTER INCEST
  • 22. II. CASTES /TRIBESWITHOUT BARDICTRADITION, BUT SING EPIC SONGS: CAS TE TRIB E Epic songs/culture Hero and Narration on Supreme Gods. Bhunjia Origin of Bhunjia, Kachra Dhurua, a culture Hero of the Bhunjias. Paharia( Kamar) Bad Devtar Khena (Origin myth). Gandhu Paradhiya (Culture Hero). Sabar Dance, the song of tattooing, romance epic of Oriya literature, Sashisena, Jarasabar Vidyapati Lalita, origin of Lord Jagannath. Teli Bhat Caste origin from Lord Siva and Parvati, Caste occupation, ritural song “marriage of Gods and Goddesses” (Siva & Parvati). Keut(Fi sher folk) Kaivarta Geeta – Origin of Kaivarta caste from Brahma and Vishnu, (associated with sage Parasara, father of Vayasa)
  • 23. III.PRIESTS/PRIESTESS ATTACHEDTO CASTE ANDTRIBE: Tribe Priest Shaman Myths &Sacred Epics Function Gond Jhankar Ghogien Dihari Budharaja myth Cultivation of paddy by Lord Shiva singing of ancestor genealogies Supreme God /Ancestor worship Appeasing the ancestors Kondh Jani ( 3) Gova jani Khut Jani Jog jani Disari Earth Mother goddess and Sun God Buffalo sacrifice Nature worship rain God Bhima worship
  • 24. III.PRIESTS/PRIESTESS ATTACHEDTO CASTE ANDTRIBE: Tribe Priest Shaman Myths &Sacred Epics Function Kondh- Paraja Bhunjia Female priest - Gurumai Gurumai Bhima Sidi, Charela geet Sunadi geet Ample harvest , divination, safety of villagers
  • 25. IV.PROFESSIONAL SINGERS Category Singers Epics musical instruments function professional Debgunia Birth of Goddess of wealth - Laxmi Brahma veena – harp Ample harvest and wealth , paddy cultivation Basidevia Brahmin Singing of the Ramayana kikri ( fidel) Entertainment and preaching of the Ramayana
  • 26. IV.Professional Singers Category Singers Epics musical instruments function Occasional Geetkudia ( male singer) heroic epics , social events Ram kathi , entertain ment , dance and singing during mirrage ceremony Geetkudien (femalesinger)
  • 27. Oral Epics  Oral epic is tradition bound  Patronized by community to perpetuate the caste genealogies and caste glories  It is associated with the culture of a community  It is mythical/legendary and imaginary  Each ethnic group has his own caste genealogies and epics  They have ethnic singers/priests
  • 28. Nature of Oral Epics:  It is a sung narrative(mixed with prose and poetry)  Clan bard/ ethnic singer perform the song  Accompanied with musical instruments  Story about caste originator/ origin of gods and goddesses/culture heroes/royal dynasties  Story of migration and settlement of ethnic group  Bear the cultural heritage of the ethnic group  It is supernatural: blend of reality and imagination
  • 29. Mythical Epics  Creation of the Universe, earth, and origin of the gods and goddesses, caste origin, validation of gods and their worship by the clans  Story of origin, marriage and family of different gods and goddesses in a territory  Oral performance of myths during ritual performance  Community believe it to be true and follow the socio- religious rules that gives them a world view of their cultural reality
  • 30. Culture Heroes:  Based on the religious world view and social values, the ethnic singer create culture heroes in their mind  It is tradition bound retained in the mental text of the singers  There is a pattern of identifying a hero in a particular community  This is based on invention,talent, strength.After attending many tests,the hero wins and become the role model for the community  Conflict in family for land and property are two major factors of creating a culture hero.
  • 31. Characteristic of Culture Heroes  Supernatural, miraculous, magical  Divine support  Enormous strength to over come obstacles  Witty and intelligent  Wins in love and war  Innovative in ethnic occupations  Have the ability to tackle any difficult situation( may be divine or human)
  • 32. Why Oral Epics  To remember caste glory  To know the caste genealogies orally (through arrangement /chronologies of characters and events)  To respect the clan gods and goddesses/ worship the ancestors and energize the contemporary generations  Associating the clan history with the present clan lineage  Recite the epics during marriage ceremony to glorify the heroic actions of the ancestors/culture heroes  Learning from the ancestors story
  • 33. Narrative Territory of Clan Bard Parghania ( Epics to Ontology )  It is said that 84 villages constitutes a Parghana with a king.  They use to live on their clan masters donation  A parghania consider the territory of his clan masters as his own narrative territory.  Out of eight ‘Saga’ (Clan) Gonds , eight clan bards  each clan bard serves his own clan master’s territory as his own occupation areas.  No other clan bard enters other than his or her clan master’s house.
  • 34. Caste Genealogies  Caste genealogies are recorded and maintained by the ethnic singers  Parghania maintain Gond genealogy: Purja  Similarly other tribes have their own oral history  This is related to their gods and first progenitor,  This is based on their migration and settlement, some time struggle with other caste and win over them  Distribution of Gods among the clans
  • 35. Functions of Ethnic Singers  Singing the clan based creation myth, clan genealogies , origin of the castes,origin of gods and goddesses,migration, settlement, story of the clan heroes  Attending rites de passage of the clan masters  Annual tour to the houses of the clan masters( confined to one clan only)  Perform epic story of the clan and other songs , stories, music, etc.
  • 36. Social function  The bards attend their clan master’s social function such as birth , marriage ,death rituals, and beg/ demand alms.  The male bards use to sing the caste genealogies during the death ceremony of a person  He also sing the heroic epic during the marriage ceremony of the Gond family  The caste genealogies are re cited during death rituals, as well as clan rituals( Pitori Puja – ancestor worship)
  • 37. Bard’s identity  The clan bard Parghanias identify themselves as the younger brother of the Gonds and claim their common ancestry.  But the Gonds disagree with it.They say that they are superior and in no way their clan bards are equal to them.  Instead, since the Gond bards accept alms, (Sukdan, bachhadan etc.) from their Gond clan master, the Gonds say that the parghanias are inferior caste group, of course emerged from their caste.
  • 38. PURJA: GOND CASTE GENEOLOGY The caste genealogies, caste myth, oral epics and hymns are sung by the bards in a language called “Gondi”. The language is not spoken except in the religious ceremonies. It clearly indicates that the caste myths, genealogies are esoteric texts, which is not shared by other caste group, even a caste myth is not sung by a singer in another clan group, as though both the clan belong to Gond caste.
  • 39.  “ PURJA” – is the caste genealogy of the Gonds. It is the origin myth created by the supreme God of the Gonds and the first progenitor was Linga Deo who listens to it. Linga Deo wanted to be popularized and thereafter his first servant become the parghania who knew all these myths and genealogies.
  • 40.  It is mandatory for each Gond family / Clan to listen Purja from their Parghania at least once in a year.  During the marriage, death rituals and invoking the ancestor spirit “Duma” Purja plays an important role to remember the past glory of the Gonds.  Most of the Purja’s are oral history and caste genealogies.  In later part of 19th century and 1st five decades of 20th century some palm leaf scriber belonging to pastoral community (Goud) and Bairagi community used to write the Gond Purja in palm leaf manuscript. After this the purja was written in pen and paper.
  • 41. Bards as younger brother of the Clan Chief  The Parghanias consider themselves as the younger brother of the Gonds. So there is a proverb that ,”the Gonds are elder brother, so they hold the ‘Chhatra’ – an umbrella over the throne – as the symbol of administrative power, and the younger brother hold the “Vana” – flag and the musical instrument ‘ Kikri’ as the symbol of singing the eulogy of the elder brother.
  • 42. Wel coming the Bards by the clan chief Baradharguma Suradhar sandu Gatidar bajarsri Ajira Chanchala Inju kaike” The esoteric meaning of the above recitation is known to parghania only. The clan master / patron replies:  “ Oh, my God has appeared. Let’s worship him with perfume , molasses and ghee”. 
  • 43. Parghania says: “O Majhi, I have come to you.You have got this God from your ancestors.You have to obey your God.You pay the alms for your betterment”. Then the chief offers him a jug of water and tobacco and invites him. This is the symbol of honour. If they delay in inviting, the bard may feel offended.They also worship the musical instruments as the symbol of their clan God. The bards use to sing the song depending on the rituals and occasion. If it is a death rituals they sing caste genealogies and the glory of ancestor story. If it is a marriage ceremony , they sing the glory of their culture heroes., legendary hero if their community.
  • 44. The patron gives gold, cow, bullocks, rice, paddy, salt, turmeric, chilly etc and says,“Babu, this much is with me please be happy with this. I will satisfy you next year”.  The Parghania bless the patron,“Chaturbhuj Budhadev will keep you happy.You will lead and win every where”. Then again the Parghania recite his Gondi hymn – Baradhar guma:………  After 15 days or so the Bard return to his home.
  • 45. Parghania as epic singer and story teller  In the night, at around 8.00 P.M. to 9.00 P.M. all the people of the Gond community assemble in one place.The tribal chief worship the musical instrument.  Thereafter the Parghania recites the worship and eulogy of the Gond supreme Gods Chaturbhuja Budhadeo, Linga Deo and Jangha Deo.  After that, the Parghania, assisted by two to three young singers start singing the Purja – the Gond caste genealogies.  The audience believes the narration to be true.They also remember the caste lineage.The older persons in the Gond community also recapitulate the accurate caste lineage and share with the Parghania.
  • 46.  The audience enjoys the narration of the Parghania.They feel glorified with the heroic deeds of the Gond Gods and heroes.The categories of narratives recited by the Parghanias are as followings:
  • 47.  Sacred narratives:  Creation myth of the Universe.  Creation myth of the Gods / Goddesses  Creation of the earth, birds, animals.  Shiva – Mahadev as the first cultivator  Purja caste genealogies.
  • 48. Purja  One such ‘Purja’ is collected from Sri Parsuram Majhi, Malpada of Sinapali Block in Kalahandi district reflects the nature of its structure, narration and the function. This Purja reveals how the Gonds came from Bastar and Chhatishgarh to Kalahandi.The content area found in the Purja is: 
  • 49.  Distribution of Gond Gods and Goddesses in the Gond administrative territories. Family relation of the Gond Gods and Goddesses, distribution of land and place (Gadi), worship of Gonds to the Gods and Goddesses according to their clan. Categories of foods, dresses, and offerings given to the Gond Gods and Goddesses according to their individual tastes.
  • 50.  Ethnic status of the Gonds:The superior Gonds and inferior Gonds in terms of their origin and their occupation are described in the Purja. Out of 8 ‘Saga’ Gonds the Markam and the Netam Gonds are superior and the rest of the Gonds are comparatively inferior. The kinship relation is also determined in the Purja, and description is found, whether the marriage between two different Gond clans is possible or not.
  • 51.  The history of clan migration from one place to the other and forming of new settlement is found in the Purja.The struggle of the Gonds with other tribes during their migration and settlement is described in the Purja.They also describe the first progenitor and the first Gond hero who defeated other tribes and saved their Gond clan.
  • 52.  In order to keep the caste genealogy chronologically the time factor is retained through the series of important events. For instance, the events of the Gond heroes are remembered by the Parghanias and it is through the association of events that the chronology of the Gond oral history is maintained.
  • 53.  Social rules are described in the Purja. Most of the Gonds are belong to breast milk brothers (Dud bhai) and institution of marriage is not allowed between these two Dudbhai clans. So in order to be aware of their caste status and the approved marriage relation between the Gonds, the Purja is referred.
  • 54.  Unless and until the caste genealogies are agreed and declared as correct, the narrations of the Parghanias are sometimes rejected.The “sianlog” – senior persons of Gond community suggests the Parghania to correct the narrative events. So that the right oral history and chronology will be maintained.
  • 56. Current Sceneario  Modernity, westernization, industrialization, modern education and globalization has left little place to genres like oral epics/myths  Ethnic singers are in cross road in their identity, neither they are aware of the traditional knowledge, or ready to abandon the identity of a singer.  Scholars quest for oral tradition has made them aware of the importance of their knowledge,but unless the caste patron approves, they are not ready to share.  They consider the caste genealogies as esoteric knowledge,only should be within their private domain
  • 57. Professional singers and their current situation  Singers are unable, in a changing environment, to adapt the singing profession they once learned, but still stored in their memories  Many genres of folklore have vanished forever with the passing of the last tradition-bearers familiar with them.  Now no singer of 60s are available to us to listen to their songs of glory  Musical instruments are not available or of no use
  • 58. Lack of Patronization  Now a days ethnic singers are lacking patronization  Clan masters don't patronize them  Traditional singing is replaced with Hindi films during marriage/ birth rituals etc.  Mode of entertainment became more visual than aural, elders did not patronize their community knowledge  Modern education gave them new identity than earlier one
  • 59. Lack of Patronization  Now a days ethnic singers are lacking patronization  Clan masters don't patronize them  Traditional singing is replaced with Hindi films during marriage/ birth rituals etc.  Mode of entertainment became more visual than aural, elders did not patronize their community knowledge  Modern education gave them new identity than earlier one
  • 60. Singers as passive tradition-bearers ,Why?  No clan support  Unable to adjust with new social life  Adoption of labour and agriculture, rural employment  No training and education on traditional singing , music  Hesitate to write / perform the knowledge in new socio-cultural situation which could be the source of regenerating the cultural resources  No knowledge about the importance of their performance as the borrower of human culture.
  • 61. Observation: The socio-cultural aspects of the epics are 1.The epics represents the pre agricultural society of Kalahandi 2.It represent the initiation of agricultural society ( invention of iron, plough, cutting forest and leveling land( sunabeda, rupabeda) 3.Invention and discoveries: iron, liquor, 4.Etiological myths: why the paddy looked black and yellow, why the tiger is afraid of the wild dogs? why there is worms in the fig fruit etc.
  • 62. How to Revitalize?  Community support:Approval of jati maha sabha to document the social and oral history of tribes and castes  Bring the content in audio, video and print form  Patronize the singers through recognition, reward and pension( Karnataka example)  Using oral tradition as the means of political gain, ethnic identity, group solidarity,and maintain ethnic culture.
  • 63. Dual Responsibilities:  Sensitizing the community on safeguarding the oral epics/ myths/caste genealogies so that they will patronizing the singers  Recognizing the singers in public domain  Studying the oral epic genre as a means of understanding the ethnic culture as well as use them for socio-cultural and socio-political regeneration  A place where academic domain contribute to the community from where the oral tradition has been derived  and giving back to the community
  • 64. Application  Traditional performance in the community  performance in changing situation:  Use in research ( anthropology, history, linguistics, literature , music etc.)  Use for ethnic identity and achieve power (land, culture and language)  Use in education ( cultural curriculum)
  • 65. Conclusion  From 1500 years ago till now – the knowledge of the singers and the languages of the communities are still subjugated and not properly understood as the resources of human property.  The Kings and sages have gone, peoples rule has come , but still the knowledge and language of the tribal / ethnic communities are in constant threats, the threats of hegemony and the threats of cultural genocide.  It is essential to maintain cultural bio diversity and therefore knowledge from the epics is important to understand the alchemy of nature.